
Glass J" 3> 7/ 
Book >C 5-5- 



\<\%Z 



STANDARD LETTERING 



BY 



ROY C. CLAFLIN 



PUBLISHED BY THE 

COLUMBIA SCHOOL OF DRAFTING 

14th and t streets northwest 
washington, d. c 



m^^mt 



Copyright, 1916, by Roy C. Claflin 



Second Edition, 1922 



By Tranafer 

OU 1 924 



A^ 



^^^.^ 



^.'^'^ 



THE underlying principles in the art of lettering involve many ele- 
ments which are deceptive and require careful observation. 

A study of the origin of the standards of lettering discloses many 
interesting and instructive features. To become a master of lettering one 
must, to some extent at least, understand the fundamental logic of the 
subject. Upon making such a study we can formulate our observations 
into rules to be followed in practice. 






In correct usage the upper parts of the figures 8 and 3, also of the letters Z, X, B, H, E and S, are made 
smaller than the lower parts. The reason for this is demonstrated in figures 1 and 2. 

In figure 1 the upper and lower parts are made mechanically equal. In figure 2 the upper parts are smaller. 
We accept the characters of figure 2 as the correct forms because in figure 1 they appear "top heavy." We 
must adapt the proportions to a pleasing appearance and not to mechanical exactness. 

An important factor which must be dealt with in lettering is that the human eye is not always a true 
discerner. A few simple well-known diagrams in addition to those of figures 1 and 2 will illustrate this point. 
See fig. 3. 





3 4-567 





Fig. 3 



Lines AA, BB, and CC are absolutely straight lines. Lines 1 and 2 are parallel with each other as also 
are lines 3, 4, 5, 6 and 7. Circle M is of the same diameter as square N. 

These statements appear false to the eye; but they are easily proved true by test. This principle of 
"optical illusion" has been a great factor in the determination of the rules of lettering and in the spacing 
apart of letters in words. 

The principle illustrated in the circle and square of the same diameter (M and N, fig. 3), makes it necessary 
that the "round" letters be given a greater height than the "square" letters, in order that they may all appear 
to be of a uniform height. Hence, one of our rules — 

RULE 1. All curved portions of letters touching the upper or lower guide line extend beyond. 

This rule applies to all styles of lettering. A tendency to exaggerate this distance beyond the guide lines 
must be guarded against. 




MWJ 



Fig. 4 



Fig. 5 



Mechanical equality and mechanical spacing are foreign to correct lettering. The letters of figure 4 
demonstrate this. All the letters in that case are equal in width and are spaced equally apart. The trouble is 
obvious. Hence, the necessity of assigning different and specific widths to all letters. Figure 5 shows the same 
letters as in figure 4, but with their proper relative widths and spacing apart. They present, therefore, a much 
more satisfactory appearance. The widths assigned to the different letters are not a matter of guess-work 
or the product of the mind of any one person, but are the result of many years of experiment on the part of 
a great many individuals. There is a reason for every particular proportion of each letter which usually 
becomes obvious when the letter is made contrary to the correct proportion. 

A very important rule in lettering which is commonly violated by the inexperienced is as follows: 

RULE 2. In the letters, V, A, N, M, W, Y, K, X, and U, that is, the letters which offer a choice 
of direction in the light and heavy strokes, are shaded on the "down" stroke, or the stroke which 
slants from upper left to the lower right. 

The heavy side of the "U" is easily remembered as it was originally made like the "V," (the present 
"W" being a "double U" of the old style "U"), so that it is shaded on the same side as the "V." 

This rule applies not only to all styles of Roman Letters, but to all standard "shaded" letters. There 
is but a single case in this style in which a heavy stroke slants from upper right to the lower left. It is the 
"Z"; but as it offers no "choice" as to which stroke is shaded, it does not come under the rule just given. 

Other rules will be formulated as we proceed with the study of the individual letters. The style of letter- 
ing first to be taken up will be the ROMAN letters, as that is the basic style. 

We will first observe several short-cut methods which can be used to advantage in laying out letters, etc., 
by the use of the two triangles. 



B' C A 





Fig. 6 



Fig. 7 



Figure 6 illustrates the method of drawing vertical and horizontal lines, the same method being applied 
for drawing lines parallel or perpendicular to a given line at any angle. Place either triangle with its right 
angle in the position of point B, and its edge AB lying along the lower guide line (or the upper guide line could 
be used). Place the other triangle against the first one (usually the longest side is used — and hold it securely 
down against the paper with the left hand; then with the right hand slide the first triangle to the positions 
desired to draw horizontal lines along the edge AB as at DE, or to draw vertical lines along the edge BC as at 
HI. This method can be used for laying out the guide lines themselves. In that case the longest edge of the 
30° triangle is preferred in the position of AB. 

Figure 7 illustrates the method of bisecting a space. Lay the triangles in the positions indicated to find 
the center point of the letter A, for instance. With the one triangle in the dotted position draw line BB', 
through point B, and in the position shown in solid lines draw line x'^xV through point A. Then by turning the 
triangle draw line CD vertically through the intersection of lines AA' and BB'. This line marks the midpoint 
between A and B. 



T"t 



w 



w 




ROMAN LETTERING 

(Upper Case or Capitals) 

Note. — The use of the terms "upper case" (capital letters) and "lower case" (small 
letters) originated with the f)rinter, whose cases of type are at'ranged with the capitals above 
the cases containine the small letters. 



Fig. 8 



We will study these letters not in their alphabetical order, but in their logical order according to the 
principles involved. 

To enable us to observe the formation of each letter more conveniently we will study them in outline. 
The complete letter is usually filled in solid. 

The height of the letter is divided into seven equal parts, one of these parts being taken as the unit of 

measure. (For a special scale giving these divisions, called the "Topographers' Scale," see page 43.) The 
thickness of the "I" and of the heavy straight strokes of the other letters is one unit. We will adopt "U" 
as the abbreviation of the unit of measure. The dimensions for the "I" are indicated in the accompanying 
sketch (figure 8). 

The curve at C is a quarter of a circle with a radius of one-half a unit. That is, if the arc were contin- 
uous it would form a perfect circle and would be one unit in diameter, the center of the circle being one-half 
unit from the stem and the top line of the letter. This arc is called the "grace curve" as its purpose is to give 
grace to the letter. 

Letters must, of course, be laid out in pencil before being inked. The pencil lines should be light and 
fine, made with a slender, sharp point. Do not bear on the pencil, as it makes it difficult to ink in and in case 
the position or a part of the letter is altered the original lines would be in evidence as grooves in the paper. A 
comparatively hard pencil should be used, depending on the nature of the surface of the paper. The finer 
and more clear cut the pencil lines are, the easier it is to ink in neatly and correctly. 



RULE 3. 
while inking. 



Be sure the letter is correct in pencil before it is inked — leaving nothing to be corrected 



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-Cop ,14) s U 



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[^-5"- 



^rzr^ 



T~Z 




7o 



/^ 



i- 



\- 



Bi 



uluJiU 



"^ 



^ 



2u 



,i.^" 



7~A 



It IS advised that the entire alphabet be laid out in pencil first, one inch in height, with a special view to 
studying the formation of each individual letter, before attempting any ink work. 

RULE 4. The straight Unes may be ruled, but all curved lines must be drawn freehand. 

The letter "H" is 5X units wide, and is formed by joining two I's with a horizontal line % unit above 
the center of the letter. The center is found by measuring 3>^ units from the top or bottom, or by bisecting 
the height by the use of the triangles. 

The curve on the foot of the "L" is the fourth part of an ellipse, not a circle. The elHpse if completed 
would be about 4 units high. 

The arms of the "T" are the same shape and size as the foot of the "L." 



RULE 5. In laying oflF the heavy stroke or the stem of the "Z," its width- 
at right angles. This applies also to the heavy stroke of all letters. 



-one unit — must be laid off 



This is done by measuring from the upper right hand corner of the "Z" at right angles to what you can 
easily estimate will be the slant of the heavy stroke. Connect the point just laid off with the lower left corner 
of the letter and draw the other side of the heavy stroke parallel to the first line. 

In the N and M, note that the lower line of the heavy slant stroke crosses the upper guide line y^ unit to 
the left of the first light stroke. Also in drawing the grace curves to the light strokes of the letters note the 
following: 

RULE 6. The grace curves on the vertical thin stroke of a letter are arcs of one unit radius joining 
the strokes one unit from the guide line. The projections are Ij^ units on each side — three units in all. 

To find the point where the middle portion of the "M" touches the lower guide line, bisect the distance 
from the left line of the letter to the inside of the heavy stroke at the right (using the triangle method). Do 
not bisect the total width of the M. 

The W is a letter that has always given considerable trouble owing to the difficulty of getting the corres- 
ponding lines parallel and the angles equal. The following method, however, eliminates the difficulties 
entirely, and gives a perfect " W"- even should the width of the letter happen to be laid out incorrectly. 

10 




Lay off the total width. Lay off "U" on the upper guide line equal to one unit (full). Bisect the remain- 
ing width as indicated, and draw a vertical line. Bisect the space on the lower guide line as indicated. Con- 
nect the two points thus found on the upper and lower guide lines with a straight line and draw the right hand 
light stroke of the W parallel to it. Then draw the sides of the heavy strokes parallel to each other. This 
completes the W. The thickness of the second heavy stroke should be exactly one unit (measured at right 
angles), which is the test of the accuracy of your construction. The grace curves of the W have no specific 
radius in units, as is likewise the case on the slant strokes of the other letters. 

Note in the letters F and E that the middle portion sets one-fourth of a unit above the center line ("C.L. "). 

Unlike the V, the point of the A projects Yi, U beyond the guide line. In the V draw the left side of the 
heavy stroke before laying off the unit of thickness for the other side, as this will give the correct angle at which 
to measure. Apply the same principle to the A. 



11 



7o 

Jl 




In the Y, K, and X note that the hght stroke is set in >^ U at the top. This prevents the letters from 
appearing top heavy. 

In the K, note that the outside line of the heavy slant stroke will, if produced, intersect the right side of the 
vertical heavy stroke at the top guide line. Draw this line before measuring the thickness of the slant stroke. 

To lay off the thickness of the heavy stroke of the X, proceed as in the Z. 



12 



f— -5:^ 




[•r.^"yi . ['^jnv.i^ 



V. 



— ^ r 



2u 






THE CURVED LETTERS 

Bear in mind rules 1 and 4, that all curved portions of letters are made freehand; and that all curved 
portions of letters touching the guide lines extend an eighth of a unit beyond; also guard against exaggerating 
this distance. (In the drawings this distance is slightly exaggerated for the sake of clarity of instruction.) 

Note on the heavy stroke of the U and J that the outside line starts to curve 2 U above the base line while 
the inside lines start to curve a half unit lower. The round portion of the J has a diameter of 1>^ U. The 
thickness of the curved stroke of the D, and other curved letters is 1 /^ unjts. The reason for this added thick- 
ness is to give the curved heavy strokes of letters the appearance of having the same thickness as the straight 
heavy strokes. Hence our rule: 

RULE 7. The curved heavy strokes of letters are drawn Ys U thicker than the straight heavy strokes. 



13 



The curved part of the D starts at the line bisecting the distance between the left lines of both strokes as 
indicated. Do not bisect the total width of the D. 

Figure 9 illustrates by steps the "skeleton method" of laying out the inside line of the curved stroke of 
the D, and the curved strokes of the other letters including the P, B, etc., which method insures symmetry 
and in the long run is an economy of time. 

First step, draw line CD 1 ji units from AB. 2d: bisect EG and FG at H and K, respectively (this can be 
done by the eye after a little practice). 3d: sketch in curves L and M. 4th: "Fatten" this portion of the 
letter by rounding out the hollows at L and M making the new curve continuous and tangent to CD at the mid- 
point, with the result as shown. 

The finished letter is often left as in the .3d step, but that is a case of sacrificing, to some extent, the grace 
of design for the ?idvantage of speed. 



c 




1 . 1 




1 


\ 




N 


M- 


E 
G 


'^ 


,^y 


/ 


K- 


F 


J 


■) 


y^-tr 














O B 



Fig. 9 

14 



By studying the construction lines in the drawing of the O some short cuts will be discovered. For example 
note the points through which the outside curve of the letter passes. 

The Q is the same as the O with the addition of four semi-circles, the larger two having a radius of a unit 
and the smaller one a radius of a half unit. 

Note in the case of the P, B, and R that the middle line of the P lies below the center line; of the B above; 
and of the R on the center line. The curved strokes of these letters are constructed according to figure 9, 
except the reverse curve of the R. The left line of that stroke lies on the line which is found as indicated. 
Note the upper part of the B is "set in" J^ U. Make all the four arcs of the curved strokes of the B meet at 
one point on the vertical center line. This prevents the running together of the curved strokes when inked 
in, which would give too much blackness at the point of meeting. This principle also applies to the R. 



IS 



The upper parts of the C, G. and S are "set in " X U. The outHne of the C, if continued as indicated 
by the dotted lines, would be the same as that of the O. The lower curve is " sprung out " to touch the line 
which determines the width of the letter. 

The S is usually considered the most difficult letter of the alphabet. The method illustrated in Figure 
10 reduces the drawing of that letter to its simplest elements. 




Fig. 10 



16 



The first step in drawing the S after laying out the width of the letter 
and drawing the vertical and horizontal center lines is to mark off a point 
(A) ys unit below the intersection of the two center lines and a point (B) 
lj4, units above point (A). These two points determine the thickness of the 
heavy stroke at its widest point. Mark off points (C and D) J^ U above and 
below the upper and lower guide lines respectively. Mark off a point (E) on 
the left limiting line midway between the points A and C, and similarly mark 
off point F midway between B and D. These points can be found by the 
construction method indicated in the cut. After a little practice the position 
of these points can be determined by the eye, as can all the other points of the S. 

The next step is to sketch in the main curves as shown in the second view (Fig. 10), passing through the 
points just laid out. These curves are not half circles, but half ellipses. Perfect these curves by erasing 
and resketching where necessary. 

Next, sketch in the inside curves as shown at G and H, third view, making them conform in symmetry to 
the outside curves, starting to enlarge the thickness of the stroke at points ^2 U from each guide line, or at 
points found by drawing a 30° line from the near corner of the limiting lines. (These points can be estimated 
by the eye.) Perfect these curves and finish the letter as in the fourth view. 




17 




-44T|7p 




A detailed explanation of the numerals, aside from the charts, is not necessary as the notations in the 
drawings are self explanatory, and the proportions will be easily understood from the foregoing explanations of 
the Roman Letters. The principles involved are the same. 



18 



ABCDEFGHIJ 

KLMNOPO 
RSTUVWXYZ 

12 34567 89 & 



19 



THE SLANT ROMAN CAPITALS 

The proportions of the letters and figures of this alphabet are the same as those of the vertical Roman 
Capitals just preceding, and those dimensions may be followed in laying out the slant capitals. 

The difference in principle between the vertical and slant letters is that the top guide line is, so to speak, 
moved along to the right for a distance of three-eighths (H) of the height of the letter. The top points of all 
the vertical lines move with the top guide line, the bottom points remaining stationary. This brings the 
formerly vertical lines to what is known as the "3 in 8" slant, being 3 parts in 8 parts. The number of degrees 
of this slant is approximately 21.3°. (For a special triangle giving this slant see page 44.) This is the "official" 
slant for lettering, adopted universally. 

The directions for laying out the vertical Roman Capital letters applies in the main to the slant letters. 
They may be followed accordingly, making, of course, the necessary changes occasioned by the slant; for 
instance the radii of the grace curves will be changed. 

The following is an important point to be remembered: 

RULE 8. All measurements pertaining to the HEIGHT of slant Roman Capitals must be laid out 
VERTICALLY. 



To illustrate this point, take the Y for an example. 3^4 U measured up from the base line gives the center 
line, which establishes the point where the light stroke joins. If this distance (S}4 U) were measured on the 
slant it would not locate the center line, the proper place for the light stroke to join the heavy. 

It will be observed, in this connection, that the "I," for instance, is lengthened by being converted into 
a slant letter of the "same height." The height, be it remembered, is measured vertically. 

20 



The strokes which were originally at an angle in the vertical letters must still have their thickness laid oflf 
at right angles. This principle can readily be seen when applied to the Z. In many cases, however, the W 
for example, this question makes such a minute difference that the thickness of the heavy stroke may be laid 
off horizontally. 

The principle of converting a vertical letter into a slant letter is graphically illustrated in the following 
diagram (figure 11). 







A 


/ 


k / 


/a 










/ 


7N / 


/ / 










•^ This becomes 1 
not this —*■ 1 


n / 

/ / but this -^ 1 


i ■ 








Cj 


/ / / J 


L J 










7 


^^-7 1 







Fig 11 

The letter is not " rolled along, " not tilted over, but the points move horizontally to the right until the origi- 
nal vertical center line assumes a "3 in 8 " slant, that is, until the point A, in the accompanying cut, has moved 
to the right through a distance of Y?, of the height of the letter. 

With these explanations of the general theory of the slant letter, no difficulties should be encountered. 



21 



ABCDEF GHIJ 
KL MNOP O 

RSTUVWXYZ 
1234567890& 



11 



LOWER CASE ROMAN LETTERS 

The unit of measure for the lower case letters is one-tenth (1/10) of the height of the " full height " letters, 
that is the b, d, 1, etc. The height of the short letters, the i, (excluding the dot), the v, z, etc., is three-fifths 
the height of the 1, that is 6/10 or 6 units. The thickness of the 1, i, and all straight heavy strokes is one-tenth 
the height of the 1, or one unit. The other principles set forth in the study of the Capital letters apply here. 
For instance, all curved portions touching the guide lines extend an eighth (yd) unit beyond. The regular 
curved heavy strokes are 1/^ units thick. The grace curves on the heavy strokes are >^ U radius, and on the 
light strokes are one unit radius, etc. The similar letters of both alphabets are made according to the same 
methods, as in the S, W, X, etc. 

The numerals for this style are the same as those of the Roman Vertical Capitals. 



23 




^rr^H ^54^ 




24 





25 



abcdefghiiklm 



n o p q r s tu vwxjz 



26 



GOTHIC LETTERING— VERTICAL CAPITALS 

(Sometimes called Egyptian or Block Letters) 

The unit of measure of the Gothic Letter is one-seventh (1/7) of the height. The thickness of all strokes 
is one unit, the curved strokes being the same thickness as the straight. 

The accompanying diagrams give all the necessary information for laying out the letters. 



GOTHIC LETTERING— SLANT CAPITALS 

The slant for the Gothic letter is the same as for all slant lettering, that is "3 in 8," and the unit of measure 
again is one-seventh (1/7) of the height. See the diagrams, pp. 30 and 31. 



27 



-55 



it 



h*H 



i^ 




Hi- I 



6i J 




'5 n 



-iir 




■4^ 




k-3i^ 




29 



ry'-i 






30 




-Jl 



ABCDEFGHIJKLMNO 
PQRSTUVWXYZiSc 
ABCDEFGHIJKLMNO 
PQRSTUVWXYZ&. 
12345 67 890 

I 2 3A-5 67890 



32 



ITALIC LETTERING— LOWER CASE 

The unit of measure for the Itahc letter is one-tenth (1/10) of the height, as is the case with the vertical 
lower case Roman. The straight strokes are one unit thick while the curved strokes such as in the c, o, etc., 
are 1/^ units thick. When this style is made very small it may be done as a one-stroke letter, greater pressure 
being exerted for the heavy stroke. In making this as a purely free-hand letter, care must be exercised to get 
the "3 in 8" strokes parallel in order to present the best appearance. 



OLD ENGLISH 

See page 36 

The cut of the "Old English" letters is presented not as a standard style, as there are a great many good 
styles of Old English lettering. This is only one of them. 



33 





34 



abcderghijkimnopqrsluvwxvzz 

Al(lIiEilT(g?^Ji2(ICii 

H t « u m X g z 



36 



TABLES OF WIDTHS 



For handy reference the following tables are given showing the widths in units of the various letters and 
numerals. 



ROMAN CAPITALS Unit =1-7 




ITALIC— LOWER CASE Unit=l-10 


1 


4>< 


5 


5X 


5K 


5K 


6 


6X 


6K 


7 


syi 


1 


4 


4^ 


5 


5X 


5K 


sy. 


6 


8 


I 


J 


L 

N 


HF 
EU 
PR 


VAK 
XB 


S 


T 
Z 
D 


MY 
CG 


& 




Q 


w 


/ 


/ 


k 
r 


s 

V 


n 
u 


abd 
fgh 
P <1 X 


c 
e 





m 

w 



LOWER CASE— ROMAN Unit=l-10 


1 


4 


4X 


4K 


5 


5K 


6 


7>^ 


9 


i 
1 


f 
j 


t 


r 


a g h 
n s u 
V X y 
z 


b cd 
e k p 

q 





w 


m 





NUM ER ALS— ROM AN 


Unit=l-7 




1 


4>^ 


4K 


5 


5X 


5>^ 


1 


7 


2 


5 


3 6 
8 9 


4 




37 



TABLES OF WIDTHS {Continued) 



VERTICAL GOTHIC CAPITALS Unit=l-7 



4 k 



i% 



5K 



BH 

NR 
UZ 



5K 



A D 
KT 

V 



6K 



CG 
MO 
X Y 



6J< 



Q 



8^ 
W 



SLANT GOTHIC CAPITALS rJnit=I-7 



sy. 



BH 
NT 
UZ 



6X 



K 

S 



6K 



A D 
O V 
Y 



63/, 



C 
G 

M 



~'A 



9y2 



VERTICAL GOTHIC NUMERALS Unit=l-7 



43/< 



5K 



3 5 

6 8 

9 



53/lf 



SLANT GOTHIC NUMERALS Unit=l-7 


1 


5^4 


5^ 


6K 


6K 


1 


2 

7 


3 5 

6 8 

9 





4 



38 



SPACING 



The "science" of correct spacing has always been an elusive subject. In fact it has never been reduced to 
a science but remains an art. Many attempts, and some of them clever, have been made to provide a rule or 
set of rules whereby letters can be automatically spaced in forming words and appear to be equidistant from 
each other. 

The ideal to be reached, of course, is that the individual letters shall appear uniformly spaced. Of the 

many attempts to do this "mechanically" none of them so far have succeeded. It has proved as perplexing 
and futile a task as the solution of the problem of perpetual motion, and will probably never be solved for the 
same reason. The reason, too, is obvious. 

If we were dealing in similarly shaped characters the problem would be easy. But practically every letter 
having an entirely different shape and on account of the infinite number of combinations in which we are called 
upon to place the letters, there can be but one rule for spacing and that is a simple one — The eye is the rule. 

As the eye must be the final judge, and as the letters in a word must all appear to be equally spaced apart, 
though they can not be so mechanically, the surest and shortest cut to correct spacing is to satisfy the eye at 
the start in the "blocking out" of the letters. Refer to figures 4 and 5, page 6, for a graphic illustration of the 
fundamental principle involved in spacing. 



29 



not pract,cable, and often impossible. TheToll^wInf is an Smple ' if SL word""" '•""'"«■ " " "™""'' 

MILTON MILTON 

tt otht%?::^:7;,^s°rw'sxt;i ihoirsp'ice's o« ;t r- .t'-^^", ''= '- '-/ .^ ^^^^" ='-■ 

which would be just as bad. ^ "'°'^^ ^''''" ^^^ '"^g^'^r run of the composition, 

for e^L^Tef tt?ro? t1[:¥ca';eS7ced SS^vi" tt fooT o/t^L^ ^1^ ^ ''t ^^i "^^LTON," 
necessary to insure a uniform appearance in the spacing °' '^'^ '"" ^^ "^"^^ ^° ^^^''^^P ^^ 

Another common difficulty in spacing is encountered in the word LAW. 

.eJs^t-il=:r.^eJ-^p--^-;--,^ts^^^^ 

appar?mi;1,ta!''a"',^sS.'" ™"'' '" """""^ " "■ "'""• *<' ""-"^^ <" *'' 'P-'^''^ ""ween the letters as 



40 



There being so many different shapes to these spaces is another reason why a satisfactory "automatic" 
system of spacing has not been possible. 

Another element to be considered in spacing is the character of the adjoining strokes. For example, 
in the combination HI two heavy straight strokes come together; in NM two light strokes adjoin; in IM a heavy 
and a light stroke adjoin; DO, two heavy curved strokes; ON, a curved and a light stroke; DI, curved and 
straight heavy stroke; and there are numerous other combinations of strokes. 

Two heavy strokes must be spaced farther apart then two light strokes, which in turn must be closer 
spaced than a light and heavy stroke. 

The shapes and positions of the adjoining strokes must also be considered. Note these examples: JUJ; 
LAL; LIL; AVR; CVC; lEX; KXE; OPO; TVA; YVZ. It will be observed that the relative position of the 
strokes is an important factor. It is obvious that the "J and U" must be spaced farther apart than the "U 
and J"; same with the LA and AL, and so on, because of the difference in the shapes and positions of the 
various adjoining strokes. 

Finally, each factor controlling the spacing Is not considered individually. But the eye instinctively takes 
all these factors into consideration at a glance. The space between the letters of a word is determined by the 
placing of the first two letters. After that each letter must be blocked in lightly in pencil at such a space from 
the preceding letter as will " balance " with the preceding space. 

The importance of correct spacing must not be underestimated. The. effect of good lettering may be 
injured by poor spacing. 



41 



MARGINAL LETTERING (For Map Work). 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
a bcdefg h ij k I m n o p q rstu v w xy z 

OTHER STYLES OF ONE-STROKE LETTERS 
For Rapid Work 

ABCDEFGHIJK LM NOPQ RSTU VWXYZ 
A BCDEFG HIJKLMNOPQRS TUVWX YZ 




z 



1234567890 123^567690 



42 



The 
Topographers' Scale 



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TOPOGRAPHERS" SCALE 

COLUMBIA SCHOOL OF DRAFTINJG 
WASf-llNGTON, D. C. 



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In standard lettering, as used in Topographic Drafting, the capital letters are laid out in "units" one. 
seventh the height of the letters. As ordinary scales do not provide this unusual division of the inch, three- 
quarter inch, etc., a special scale has been devised and is now manufactured, giving seventh divisions for various 
heights of letters. On the opposite edge the tenth units are given for the lower case letters. 



43 




The 
^'3 in 8" Triangle 



The correct slant for lettering is three parts in eight, or approximately 21.3°. A thirty degree slant is 
sometimes used because the 30° triangle is handy, but that slant is incorrect. 

The "3 in 8 " triangle supplies the need. It has been designed by and is manufactured for the Columbia 
School of Drafting, Washington, D. C. 



44 



